Keenan925

I agree with Dalton, A1 and G if you are gonna buy different units. I use frequencies in (592-608) all over the bay area for my IFB or IEM and they are always clear on my frequency scans. A1 has a more open frequencies than G, but the RFI varies wildly from location to location.

This is what I've found using the A20 mini TX and battery life, If I were to do reality with this system I would definitely get the battery doubler for my A20minis TX, but would feel more comfortable using the A20 TX instead.

Energizer Lithium AAA ~ 5hours @2mW

Sony  NP-BX1 4.5hours @2mW

off brand NP-BX1 batteries 3.5hours @2mW

Thanks Aginzo

Looking for a union utility to join me on a quick project in Orlando Fl 1/30-2/1. know anyone out there?

This is Hugo, he is 7. 

fixed it, for now.

Keenan

Hi all, 

Out in Denver for a job and my menu knob just stopped working on our last setup for the night. I need to rent a Sound Devices 633 or a 688 which is more then I need for this job. I'll need to rent it for tomorrow and Friday (7.23.20-7.24.20). Please email or text me.

kjjsound@gmail.com

925.642.2802

Yes, I had the same problem when I tried to use a Schoeps CMC6 with the new A10 system, way too much hissssssssss!!!!! My Neumann 82i and Sennheiser microphones all work great with the A10 system. Audio Limited did just put out a firmware update for the A10 which I have not tested yet, here is the link:

https://www.audioltd.com/resources/firmware-downloads/

Hi Marco,

I had the same issue with my A10tx and CMC6 preamp and CMIT-5u as well, just too much RFI noise. All my Sennheiser boom microphones work great with the A10 system. Back to the Noise issue, I thought this was a broken (Blue Cap) cable out of the box, but it wasn't I pulled the next new (blue cap) cable out and observed the same problem, Noise. The noise does seem to fluctuate when moving the Blue Cap cable, from OK to bad to worse. I'm no electrical engineer, but I believe the issue is the cable itself. It might be too thin to shield a clean signal to the transmitter. Also, I already had one of these (blue Cap) cables die already on the lemo end ( I do not like these connectors).

You can add my name to the list.

I second what Jim said.

I'll be there Paul, I may invite a few guys not on the norcal list and here.

I started a long term commercial with the Weapon and I usually run sound to the camera with this production company so it outputs in the embedded SDI for VTR and Daily reasons. The first camera body went down in the first hour starting with the audio input failing, then timecode, and etc. The next body worked while we setup and did our tests in the parking lot of our next location. Right when we start rolling my VTR colleague altered me that the audio had a bunch of digital delay and artifacting then just stopped working. We rebooted both of his Wireless video systems and no change, so we just bypassed the problem by using the audio inputs on his microLite Transmitter which is rock solid. I know it seems outlandish to want to pipe sound through a new product of Red, so I would like to hear if anyone has had the same probably with the Weapon or is it bad luck.

VHF!?!?! Now I'm gonna start scanning for those frequencies for the next few jobs and see how busy they are. I wouldn't mind seeing what some SMV's could do when they are working in the VHF frequencies.

Awesome! thanks

This is insane! Please, coreyshere, this discussion forum is NOT film school! You have been given all the advice that anyone has the patience to offer. We are not going to partner with you, day by day, testing, learning, critiquing your choices, etc. Please, do not post here anymore. Come back after your epic project is accepted at Sundance and send us a link to the video trailer on YouTube.

 

...and the clip you posted above sounds awful.

I was gonna comment on how great the CS-3e is, but see this is the wrong thread... I second Jeff's post. THIS IS NOT FILM SCHOOL!!!

Hey Paul,

I'll send an email out to some of my other friends but I should be there

Keenan

If you guys want an example of mixing the wired boom and lav, check out this little trailer where I was the production mixer during August of this year. My friend who cut it used the production mix on the camera I believe. If you listen closely you can hear our teachers lines are a little out of phase along with the argument that takes place outside at night. The rest of the trailer is just mostly the boom with a hint of lav at the most. I had everything ISOed so I'm not to worried about the final mix, and also thanks to Wyatt Tuzo for selling me his old AD 146 board which came in handy on this feature.

http://youtu.be/_i9zYti8UWw

Keenan

nice Max, who was your crew?

Keenan

Thats great Michael, I used one of those clips for a women's workout video

Keenan

HEy Tom,

What will be involved during this shoot; ocean, swimming pool, river, Wetsuits?

In my experience I used the countryman EMW and B3. They kinda worked as long as they don't fill up with water because at that point the element can't do its job. It took a few seconds for the lav to clear but once they did it sound pretty clear again. I tried a experiment in my bathroom sink before I got to the beach. You could try your B6 or Senn MKE-2, and I'm sure the COS-11 could survive too.

What Transmitter were you planning on using? I made water packs for my Lectro SMV's transmitters but found that once the transmitter went a few inches out water its signal was lost and it dont matter what lav I was using. I suggest trying Lectro's new WM or the MM400c I wish I could have tried those on my gig.

I'd say just boom it and tell the production that is the sure fire way to get sound you won't want to kill yourself over, haha.

Keenan

Thanks guys, it turns out she had the newest Mac OS which has some bugs with Pluraleyes. She tried her old system and it all synced up first try. Done deal and on to the next one

Is there any reason why Plural Eyes would not work with 5D footage?

I was the recordist for a gig last weekend where I was teamed up with a crew of Photographers and producers who knew nothing about shooting video or the importances of a post workflow plan. We were shooting with two 5D and I was sending each camera a scratch track via Senn G2 and I planned on slating everything myself. I got a slate in on the first take after the director/operator sneered at me. After that the director/operator would just start rolling without telling me and ignore my verbal require to swing the cameras over to me for a slate. I voiced my concern with the producers but as we all know it didn't go far.

I received a call from the editor who says the DSLR footage and my files are not syncing with Plural Eyes in her FCP. When she hits sync in Plural Eyes the DSLRs video and sound line up at the tail of my .wav file. She said can see where the scratch track and my .wav files should match up in the timeline. She tried a few clips from another project with a different camera and different recordist, and Plural Eyes synced everything. I am not an editor and I've never heard of this problem before. Has anyone ever experienced this problem and was there a solution?

Keenan

email sent

Congrats Phil, I will miss your old ride

Keenan